The shapes of purple clay Teapots originate from the reasonable and ingenious combinations of points, lines, planes, geometric figures, and space. Different combinations create myriad forms, yet the fundamental principles remain consistent.

Circular Combinations and Symmetry

The circle is the most commonly used element in the geometry of purple clay teapots, with almost no Teapot being without it. Taking the classic Dahuang Duanshu (Daheng Ball) as an example, this teapot may seem simple at first glance but is strictly geometric in form, placing high demands on the maker.

The key to this teapot is “circularity” – one circle after another, circles within circles, circles intersecting circles. The entire body must have smooth lines without any dead spots and exhibit tension, revealing its character. The difficulty of making the Daheng Duanshu lies in integrating all parts into a perfect circle while ensuring that each component maintains its own circularity. This complexity is self-evident.

Center of Gravity and Stability

The shape of a Purple Clay Teapot must conform to the requirement of stability, which means being stable both in use and visually. To facilitate usability and creative convenience, most teapots are made in round or symmetrical forms.

These shapes are centered around a central axis, and the center of gravity falls on this axis. A line drawn vertically down from the center of gravity must land at the center point of the teapot base. Therefore, the size of the base affects the visual stability of the teapot.

In addition, changes in the shoulder and belly areas also influence the overall center of gravity and stability. For instance, if the teapot is relatively short with a larger base, the center of gravity is lower, increasing the sense of stability or weight visually. Conversely, if the teapot is taller with a smaller base, the center of gravity rises along the central axis, creating a light and lively appearance.

Qin Quan Teapot with Qing Mud (Clear Mud)

Taking a simple Qin Quan teapot as an example, its height is relatively greater, so the base is made proportional to the body to achieve a balanced and stable appearance, despite its height.

Shi Piao Teapot

For example, the side profile of the Shi Piao teapot resembles a nearly upright triangle, with the center of gravity resting entirely on the bottom. However, the base is supported by three nipple-like feet, giving the teapot a stable but not heavy appearance. Using the Ziyi Shi Piao as an example: the body, handle, and lid are all triangular, as is the angle between the spout and the body. The triangular handle transitions to the spout, creating interlocking triangles, and a triangular lid is added on top, with the body supporting two small, equally angled triangles.

Hongni Ziyi Shi Piao

The triangular structure balances the spout and handle on the body of the teapot. The spout and handle play a significant role in the structural balance of the teapot. If one side of the spout or handle is too heavy, or if the handle turns outward excessively, it can cause the center of gravity to deviate from the central axis. If the spout and handle are improperly positioned relative to each other, it can affect the overall balance.

Fanggu Ruyi Teapot with Qing Mud

The Fanggu Ruyi teapot, for example, seems unrelated to the triangular structure, but this is not the case. If the inverted isosceles triangular structure of the spout and handle is executed well, the teapot will be pleasing to the eye. The symmetry of the spout and handle gives the teapot a dignified and stable effect. The inverted triangular structure is common in teapots with a single bent spout.

Red Pilon Eggplant Teapot (Single Bend)

Symmetry and Harmony

In the design of purple clay teapots, symmetry and harmony are expressed through the differences and similarities of various parts of the pot. Size, shape, curvature of lines, thickness of the clay, and color temperature are elements that contribute to different visual effects. Symmetry and harmony are often used together in the same piece to achieve a more appealing appearance.

For example, the lid and body of a teapot often use a method of “small complements large,” creating a contrast in size, while the lid is shaped like the body, achieving harmony in their design through contrast.

Duan Mud Shuangxian Zhugun Teapot

Using the Shuangxian Zhugun teapot as an example, its body and contours combine roundness and symmetry; however, the author uses lines, surfaces, and bodies in straight lines to achieve a unified and harmonious overall shape and left-right spatial symmetry. The curved and straight lines coexist, making the overall shape very unified and harmonious.

Combining Solid and Void

Solid and void refer to the body of the teapot itself and the space formed outside of it. Proper contrast between solid and void helps strengthen the characteristics and decorativeness of the shape, which is a crucial factor in achieving an overall sense. For example, the space formed by the handle turning on the body of the teapot, if it echoes the shape of the main body or the features of its lines, can enhance the overall sense.

Adding legs to the base of the teapot to elevate it strengthens the void space below; or raising a handle above the shoulder increases the void space above the body; or forming a simple bridge-shaped lid to create an open space on the top of the teapot. These techniques all use the principle of contrast between solid and void to enhance the momentum of the shape.

Tibi Tiliang Teapot with Bottom Trough Qing Mud

Using the Tibi Tiliang teapot as an example, the center of gravity of this teapot is at the lower part of the body, making its shape stable and dignified. However, the turn of the handle creates a void space above the body, making the teapot appear spacious and elegant, increasing the overall momentum. The complete space formed by the handle also enhances the decorative quality of the shape. The handle can make the teapot appear spacious and elegant, increasing the overall momentum.

Quadrangular Chuanlu Teapot with Duan Mud

Proper contrast between solid and void helps strengthen the characteristics and decorativeness of the shape. Adding legs to the base of the teapot elevates it and reinforces the void space below. For example: the Quadrangular Chuanlu teapot.

Whole and Part

The mouth, neck, shoulder, belly, foot, base, lid, knob, spout, and handle of a teapot are all parts relative to the whole. These details must be unified within the overall design. They should conform to the whole and be organically integrated with it.